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PRINT  CABINET 

366  FIFTH  AVENUE.  NEW  YORK 


SPECIAL  CATALOGUE.  NO.  4 


VIRGIL  SHOWING  DANTE  THE  VISION  OK  BEATRICE 
Illustration  to  Dante  Divina  Comedia,  Florence  1481,  Canto  II.,  attributed  to  Baccio  Baldini.  See  No.  10  of  Cat. 


ANDREA 

MANTEGNA 


and  the  other 

EAKLY  ITALIAN  ENGRAVERS 


Catalogue  for  an  Exhibition  of  Their  Work 

Held  at  the  adjoining  Galleries  of 

Mr.  R.  Ederheimer  and 

Mr.  George  S.  Heilman 


366  FIFTH  AVENUE,  NEW  YORK 
DECEMBER.  1912 


B.  8  ANDREA  MANTEGNA  Cat  65 

THE  VIRGIN  AND  CHILD 


Descriptive  Catalogue 

of  an 

EXHIBITION  OF  ENGRAVINGS 


BY 

The  Early  Italian  Masters 

from 

Maso  da  Finiguerra  to  Marc-Antonio  Raimondi 

With  special  emphasis  placed  on  the  work  of 

ANDREA 

MANTEGNA 

With  an  introduction  by 

K.  Ederheimer 


IN  TWO  PARTS 

I.  UNKNOWN  MASTERS 

A.  The  Nielli 

B.  Engravings  by  anonymous  masters ;  Prophets  ; 
Tarocchi,  etc. 

II.  ENGRAVINGS  BY  THE  KNOWN  MASTERS 

A.  Mantegna  and  his  School 

B.  The  other  early  Italian  Engravers 


To  be  opened  on  Wednesday,  the  Fourth  of 
December  1912  and  to  last  until  the  end  of  the  Month 
No.  366  FIFTH  AVENUE,  NEW  YORK 


COPIES  OF  THIS  CATALOGUE 
ONE  DOLLAR 


ARRANGED  AND  PRINTED 
AT  THE  BARNES  PRINTING  CO. 
36  EAST  22d  STREET, NEW  YORK 


Digitized  by  the  Internet  Archive 
in  2018  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/descriptivecatalOOeder 


B.  3  G1ULIO  CAMPAGNOLA.  St.  JOHN  THE  BAPTIST  Cat.  97 


INTRODUCTION 


T  is  with  satisfaction  mingled  with  re¬ 
gret  that  I  preface  herewith  the  cata¬ 
logue  of  my  leading  exhibition  of  this 
season;  satisfaction  that  good  fortune 
and  the  co-operation  of  one  of  our 
greatest  collectors  have  enabled  me  to 
show  this  year  a  collection  almost  be¬ 
yond  the  dreams  of  ambition;  regret, 
because  of  the  conviction  that  it  will 
hardly  be  possible  to  surpass  this  enter¬ 
prise,  should  not  some  miracle  bring  forth  some  early  scrap  book, 
hidden  away  through  ages  and  containing  treasures  from  the  hands 
of  those  early  northern  masters  of  the  time  and  before  Schon- 
gauer, — the  Master  E.  S.  and  the  Master  of  the  Amsterdam 
Cabinet ! ! ! 

After  the  display  of  the  engraved  work  of  Schongauer  of 
last  season,  the  almost  logical  ambition  was  to  achieve  the  even 
more  difficult  task  of  presenting  in  a  no  less  worthy  display  the 
rare  and  remarkable  engravings  of  Mantegna  and  his  school. 
Here,  then,  is  Mantegna,  and  with  him  almost  all  the  “primi¬ 
tive”  representatives  of  the  art  of  engraving  in  Italy. 

How  fascinating  is  the  work  of  studying  the  beginning  of 
the  art  of  engraving  in  Italy  in  nearly  all  the  important  collections 
of  Europe.  Is  not  the  primitive,  the  very  beginning,  the  most 


3 


attractive  period  for  the  lover  and  collector  of  works  of  art? 
Does  not  the  contemplation  of  the  climax  of  an  art  already  bring 
the  sad  forethought  of  imminent  decline?  Do  not  the  tentative 
efforts  of  the  inventor — his  seeking  and  ambitions — inspire  us 
with  greater  admiration  than  does  the  finished  work  of  the  im¬ 
prover? 

While  the  early  Italians  lack  the  inspiration  and  humble 
purity  of  the  first  handlers  of  the  graver  in  the  North,  they  re¬ 
veal  that  fantastic  and  turbulent  spirit  of  the  Renaissance,  with 
its  humanistic  tendencies,  its  symbolical  and  allegorical  represen¬ 
tations,  influenced  by  the  classical  antique,  rather  than  by  the 
Gospel  which  almost  exclusively  inspired  the  artists  of  Germany 
of  that  early  period. 

Aside  from  the  wonderfully  delicate  work  shown  in  the 
Nielli  (that  peculiar  branch  of  engraving,  which  in  a  more  or 
less  mythical  story  is  said  to  have  led  to  the  invention  of  the  art) , 
the  primitive  Italian  engravers  do  not  show  the  preciseness  and 
skill  of  their  German  contemporaries,  but  what  they  lack  in  tech¬ 
nical  qualities  is  amply  made  up  by  the  wealth  of  imagination  in 
their  compositions. 

In  the  arrangement  of  this  catalogue,  I  have  on  the  whole 
closely  followed  the  order  of  Mr.  A.  M.  Hind’s  catalogue  of 
the  collection  of  the  British  Museum.  As  this  splendid  publica¬ 
tion  exhaustively  brings  forward  practically  all  the  material 
known  in  this  field,  I  refrain  here  from  a  more  detailed  introduc¬ 
tion,  referring  preferably  to  Mr.  Hind’s  writings  and  those  of  Dr. 
Paul  Kristeller. 

The  catalogue  is  divided  into  two  parts.  The  first  is  de¬ 
voted  to  the  very  beginning  of  the  art,  the  Nielli;  Florentine  work 
in  fine  and  in  broad  manner;  prints  attributed  to  Baldini  and  his 
school;  and  to  that  interesting  series  of  instructive  prints  gen¬ 
erally  known  as  the  Tarocchi  Cards,  a  complete  set  of  which  I 
am  fortunate  enough  to  show  here.  Starting  with  those  two  al¬ 
most  mythical  masters,  Maso  da  Finiguerra  and  Baccio  Baldini, 
the  satellite  of  Sandro  Boticelli,  our  way  leads  through  the  ob¬ 
scure  realm  of  anonymous  and  unknown  engravers  until  we  ar- 


4 


B.i8  JACOPO  DE’ BARBARI.  APOLLO  AND  DIANA  Cat.  94 


rive  at  our  second  field,  the  known  masters  of  that  early  period, 
terminating  with  the  highest  technical  development  and  at  the 
same  time  also  loss  of  originality  in  Marc  Antonio  Raimondi. 
These  known  masters  are  headed  by  the  one  giant  of  the  period, 
Andrea  Mantegna.  Like  two  of  the  other  very  great  painters  of 
all  times,  Durer  and  Rembrandt,  he  took  to  the  copper  to  con¬ 
vey  some  of  his  powerful  ideas  in  the  multiplied  form.  And 
coarse  and  primitive  as  the  handling  of  his  burin  may  appear, 
he  succeeded  in  transferring  into  the  metal  all  the  power  and  ar¬ 
tistic  individuality  of  his  brush.  His  genius  dominates  the  entire 
period  and  to  his  work  special  attention  is  devoted  in  our  exhibi¬ 
tion.  Of  the  23  engravings  attributed  to  Mantegna  by  Bartsch, 
Dr.  Paul  Kristeller  admits  only  seven  as  authentic,  a  view  which 
Mr.  Hind  readily  shares.  All  these  seven  prints  are  here  shown, 
the  majority  of  them  in  impressions  and  condition  of  preserva¬ 
tion,  which  without  exaggeration  may  be  stated  to  be  superior 
as  a  whole  to  the  collections  of  the  British  Museum  and  the 
Bibliotheque  Nationale. 

From  Mantegna,  our  way  leads  through  the  work  of  his 
school  and  direct  followers,  Zoan  Andrea  and  Giovanni  Antonio 
da  Brescia,  to  those  other  early  engravers  about  whom  we  know 
so  little  beside  their  names  and  works.  After  the  Florentine  Ro¬ 
berta  we  arrive  at  that  interesting  Venetian,  Jacopo  de’  Barbari, 
interesting  especially  for  the  fact  that  he  seems  to  have  formed  a 
link  between  the  art  of  Germany  and  Italy,  and  because  of  his 
relations  to  Durer.  We  know  of  him  that  he  worked  in  the 
northern  countries  the  greater  part  of  his  life;  Bartsch,  the  old 
and  great  authority,  not  knowing  the  name  of  our  artist,  describes 
his  work  as  that  of  the  Master  of  the  Caduceus  (with  which  mark 
the  engraver  signed  his  plates),  under  the  German  engravers  of 
the  16th  Century.  Durer  speaks  of  him  as  Jacob  Walch,  which 
name  means  coming  from  Welschland  or  Italy;  in  Italy,  how¬ 
ever,  he  called  himself  de’  Barbari,  alluding  thus  to  his  activity 
in  the  north.  Was  not  Germany  a  barbaric  country  for  the 
Italians  of  the  Renaissance? 


Towards  the  end  of  the  centuiy  we  encounter  another 
engraver  in  Venice  who  deserves  special  interest, — Giulio  Cam- 
pagnola.  In  a  technique  which  is  new  and  characteristic,  show¬ 
ing  for  the  first  time  the  dotted  manner  (brought  again  into  use 
nearly  three  centuries  later  by  Bartolozzi),  he  shows  in  his  com¬ 
positions  the  influence  of  three  great  artists  of  his  time.  While 
the  monumental  dignity  of  his  St.  John  evidences  the  influence 
of  Mantegna,  his  landscapes  are  plainly  inspired  by  Giorgione, 
and  one  shown  here  is  directly  copied  from  Durer.  He  also 
copied  another  engraving  of  that  master  (B.  63).  The  spirited 
manner  of  the  graver  as  handled  by  his  pupil  Domenico  Cam- 
pagnola  is  illustrated  here  by  some  highly  characteristic  and  in¬ 
teresting  prints.  The  catalogue  concludes  with  a  characteristic 
print  by  the  skillful  Master  of  the  Monogram  I.  B.  with  the  bird, 
and  one  by  Jacopo  Francia,  which,  however,  shows  little  of  the 
character  of  early  Italian  engraving,  being  entirely  in  the  manner 
of  Marc  Antonio  who  was  destined  to  begin  a  new  chapter  in 
the  art  of  engraving. 

It  is  not  necessary  to  state  here  that  it  would  not  have  been 
possible  to  show  such  a  representative  display  in  such  extremely 
fine  specimens  without  the  assistance  of  a  great  collector  who 
placed  his  entire  v/onderful  collection  at  my  disposal  for  this 
occasion,  and  to  whom  I  desire  here  to  express  my  great  gratitude. 

In  cataloguing  the  single  items  no  mention  has  been  made 
of  their  grade  of  rarity,  because  the  same  thing  would  have  had 
to  be  said  in  practically  every  instance.  Aside  from  the  few 
prints  described  here  as  later  impressions  every  item  is  of  the 
greatest  rarity,  and  including  the  four  famous  public  collections 
of  work  of  this  period  there  are  probably  not  ten  collections  in 
the  world  showing  such  rich  material  illustrating  the  entire  de¬ 
velopment  of  the  art  of  engraving  in  Italy  from  its  earliest  be¬ 
ginnings,  up  to  the  climax. 

The  confident  hope  is  entertained  that  the  art  lovers  of  New 
York  will  derive  more  than  ordinary  pleasure  from  this  exhibition. 


Richard  Ederheimer. 


Catalogue 

(The  arrangement  accords  in  general  with  that  of  the  cata¬ 
logue  of  early  Italian  Engravings  of  the  British  Museum,  by 
A.  M.  Hind,  whose  descriptions  have  here  frequently  been 
followed.) 


PART  I. 

Nielli,  Engravings  attributed  to  Baccio  Baldini  and 
his  School,  Prophets,  Tarocchi  Cards  and  anonymous 
engravers. 


A.  Nielli: 

i  The  Adoration  of  the  Magi 

Duchesne  32,  Pass.  I,  Page  276 

On  the  foreground  of  the  print  the  Virgin,  seated  on  a  bench 
holding  the  child  on  her  knees.  Kneeling  before  her  one  of 
the  Magi,  with  long  beard,  presenting  a  vase  to  the  Child. 

His  crown  lies  on  the  ground  between  him  and  the  feet  of 
the  Virgin.  On  the  left,  behind  him,  another  King,  with 
beard,  in  long  robe  and  crown,  mounted  on  a  white  horse, 
holding  a  vase  in  his  left.  Standing  near  him  a  squire.  He 
is  followed  by  a  number  of  persons,  who  in  their  turn  are 
followed  by  camels,  whose  train  follow  the  left  border  of 
the  plate.  In  the  center  of  the  next  row  of  the  composition 
stands  the  horse  of  the  first  of  the  Magi,  held  by  a  squire, 
near  him  an  angel  holding  the  arms  crossed  over  his  chest. 

A  little  higher,  turned  toward  the  left,  is  the  third  of  the 
Kings,  on  horseback,  crowned,  but  beardless.  Like  his  two 
companions  he  is  holding  a  vase,  in  his  right  hand.  Behind 
him  two  men  on  horseback,  and  another  leading  by  the  rope 


7 


a  camel,  followed  by  several  others.  Above  in  the  left  cor¬ 
ner  one  sees  the  houses  and  fortifications  of  Bethlehem.  On 
the  right,  near  the  center,  one  finds  the  star,  which  guided 
the  Magi.  On  some  rocks  on  the  right,  a  herd  of  sheep,  with 
a  shepherd,  seated,  playing  the  flute.  Below  him,  on  the 
roof  of  the  stable,  three  angels,  playing  on  tambourine, 
organ  and  violin.  In  the  lower  right  corner,  behind  the 
virgin,  St.  Joseph,  standing,  leaning  on  a  staff,  his  head  sur¬ 
rounded  by  a  halo,  as  are  also  those  of  the  Virgin,  the 
Child  and  the  four  angels. 

The  lower  border  of  the  plate  forms  a  straight  line,  while  the 
three  other  sides  show  peculiarly  shaped  dents,  in  every 
second  of  which  a  nail-hole  can  be  seen,  which  served  to  hold 
the  plate. 

Niello,  of  the  greatest  beauty  and  importance,  previously 
attributed  to  Maso  da  Finiguerra,  which  has  been  doubted, 
however,  by  Duchesne  and  Passavant.  Duchesne  states 
that  an  impression  of  this  capital  Niello  sold  in  1824  at  Lon¬ 
don  for  52  guineas,  or  about  1300  francs.  Passavant  men¬ 
tions  that  the  composition  and  the  rich  manner  of  the  orna¬ 
ments  on  the  draperies  remind  one  of  the  style  of  Gentile  da 
Fabriano. 

Impression  in  perfect  condition  and  superb  clearness 
of  printing. 

See  reproduction. 


2  St.  John  Baptizing  Christ 

Duch.  94,  Ottley,  p.  323, 
Pass.  I,  p.  277.  B.  13,  p. 

St.  John  is  standing  toward  the  right,  baptizing  Christ,  who 
is  in  the  middle  of  the  print,  having  his  hands  joined  to¬ 
gether  and  elevated.  Two  persons  in  religious  habits,  with 
their  backs  turned  toward  the  spectator,  are  kneeling  in  the 
foreground;  the  one  on  the  right,  the  other  on  the  left.  Two 
angels,  in  attitudes  expressive  of  adoration,  are  standing 
toward  the  left,  in  the  background,  which  represents  an  ex¬ 
tensive  mountainous  country.  God  and  the  Holy  Spirit,  sur¬ 
rounded  by  a  glory  of  angels,  appear  in  the  middle  of  the 
upper  part  of  the  print. 


2 

50,  2 


8 


SCENES  FROM  THE  LIFE  OF  THE  VIRGIN 
UNIQUE  NIELLO 


Cat.  3 


Duchesne,  who  erroneously  describes  this  print  with  four 
saints  instead  of  two,  (see  Passavant),  attributes  this  Niello 
to  Maso  da  Finiguerra.  Ottley  describes  it  under  “Proofs 
of  the  Italian  Goldsmiths,”  from  their  works  of  Niello,  while 
Bartsch  describes  this  subject  under  the  heading  of  modern 
copies,  engraved  after  Niello  plates.  This,  however,  can 
hardly  be  the  case  in  our  instance,  the  impression  being 
doubtlessly  one  of  the  early  period,  on  Fifteenth  Century 
paper. 

Impression  of  great  beauty  and  clearness,  small  tears, 
holes  and  weak  spots  underlaid. 


3  Scenes  from  the  Life  of  the  Virgin 

Dutuit  72 

Large  Composition,  in  the  center,  the  crowning  of  the  Virgin, 
represented  exactly  in  the  manner  of  the  famous  “Pax,”  by 
Maso  da  Finiguerra,  Duch.  129,  with  the  only  difference  that 
the  representation  is  not  rounded  in  the  upper  part,  but  shows 
a  quadrangular,  architectural  border;  below,  in  an  open  land¬ 
scape,  the  body  of  the  Virgin,  mourned  by  apostles.  On  both 
sides  of  the  center  piece,  three  scenes  of  the  life  of  the  holy 
Virgin.  Dutuit  and  the  Durazzo  Catalogue  describe  the 
upper  two  of  these  as  partly  torn  off  and  unrecognisable. 

Since  the  Durazzo  sale,  however,  this  print  has  been  most 
cleverly  restored,  so  that  it  appears  now  quite  perfect  on  the 
face.  These  two  upper  scenes  have  been  made  up  to  repre¬ 
sent  the  nativity  of  the  Virgin  on  the  left,  and  the  Virgin’s 
visit  to  the  Temple  on  the  right  side.  Below,  on  the  left, 
the  betrothal  of  the  Virgin  and  the  nativity  of  Christ;  on 
the  right:  The  Annunciation  and  the  Adoration  of  the  Magi. 
Dutuit,  who,  however,  gives  the  erroneous  measurements  of 
250  mm  high  and  472  mm  wide,  describes  this  plate  as: 

“Piece  magistrale  tres  interessante,  non  decrite,  provenant 
d’une  Paix  de  dimensions  considerables.  L’epreuve  unique  de 
la  collection  Durazzo,  Cat.  No.  2926  s’est  vendu  1000  florins.” 

The  Durazzo  sale  Catalogue,  No.  2926,  describes  it  as:  Mas¬ 
terful  and  most  interesting  composition;  also  as  far  as  dimen¬ 
sions  are  concerned,  unique  in  its  kind,  undescribed.  (Height, 

9  in  3  lines;  width,  7  inches  3  lines,  which  is  the  size  of  our 


9 


impression.)  (Superb  impression,  browned  and  unfortunately 
much  damaged.) 

On  the  mount  the  owner’s  note,  copying  the  handwriting  of 
the  late  .Mr.  Wunderlich,  on  the  previous  mat,  stating:  Niello 
by  Baldovinetti,  a  contemporary  and  friend  of  Maso  da 
Finiguerra  of  Florence: 

“This  plate  is,  next  to  Finiguerra’s  celebrated  Pax,  the  most 
“important  monument  of  the  earliest  productions  of  the  en¬ 
graver's  art,  and  in  size  and  composition  it  is  even  more  im¬ 
portant.  It  is  unique,  no  other  impression,  nor  even  a  frag¬ 
ment  of  one  is  known  to  exist.” — From  the  Marquis  Durazzo 
“Coll.  &  later  W.  Drugulin.” 

Not  knowing  where  Mr.  Wunderlich’s  attribution  to  Baldovi¬ 
netti  is  derived  from,  I  copy  this  note  here,  so  as  to  have 
together  all  the  material  about  this  remarkable,  and  as  far 
as  I  know  never  before  reproduced  Niello. 

Aside  from  the  fact  that  the  print  is  browned  all  over, 
the  impression  is  very  clear  and  beautiful.  It  had 
been  folded  across  and  torn  in  various  places,  but  has 
been  repaired  by  a  masterly  hand ;  only  after  very 
careful  examination  would  the  observer  find  out  that 
the  design  has  been  restored  in  the  two  small  upper 
scenes.  However,  a  very  careful  inspection  will  show 
that  the  design  is  inferior  in  character  and  purity  of 
line  to  that  of  the  original  parts. 

See  reproduction. 


4  Niello  in  the  manner  of  Peregrino  da  Cesena 

Duchesne  244 

A  woman  with  three  men  and  a  satyr,  carrying  his 
wife  on  the  shoulders. 

In  the  center  a  woman,  nearly  naked,  is  seated  between  two 
men,  the  one  on  the  left  of  whom  is  holding  on  the  top  of 
a  spear  a  bull’s  head,  below  which  the  heads  of  a  lion  and 
a  boar  are  attached  to  the  shaft.  The  other  man  is  swing¬ 
ing  above  his  head  with  his  right  a  sort  of  quadrangular 
shield,  on  the  upper  corner  of  which  one  sees  a  little  cupid. 

With  his  left  he  holds  a  torch,  from  which  another  man 
further  to  the  right  tries  to  light  his  own.  On  the  left,  com- 


10 


ing  from  the  background,  a  satyre  approaches,  on  whose 
shoulders  his  wife  is  riding. 

Circular  piece,  surrounded  with  a  double  border.  Re¬ 
versed  copy  of  Duchesne  242,  and  Bartsch  13,  page 
101,  No.  6. 

5  On  the  same  mount: 

A  Niello  ornament  for  a  book  clasp  or  a  knife  hilt,  showing 
a  maskaron  and  arabesques.  In  the  center  a  circle  left 
white,  showing  faintly  a  Roman  X. 

6  Niello,  showing  symmetrical  arabesques  with  maritime 
symbols. 

Duchesne  360 
Dutuit  612 

Attributed  to  Peregrino  da  Cesena,  but  without  his  signa¬ 
ture. 

On  the  lower  part  one  sees  two  sea-gods  standing  on 
dolphins’  heads.  The  tails  of  these  two  animals  form  an 
ornamental  border,  which  encloses  a  ship  with  full  sails. 

The  figure  on  the  left  is  seen  from  the  back,  holding  a 
trident  in  the  left  and  leaning  with  the  other  hand  on  the 
head  of  a  bearded  triton.  The  figure  on  the  right  is  seen 
from  the  front,  holding  a  trident  in  the  left  and  resting  the 
other  ort  the  head  of  a  young  triton.  Above  the  ship  in 
the  center  a  mascaron  head.  In  the  center  of  the  Niello 
one  finds  a  sort  of  gondola,  surmounted  by  a  vase,  on  the 
lower  part  of  which  two  satyres  are  reclining,  with  their 
hands  tied  on  the  back.  In  the  center  of  the  upper  part  a 
crab,  on  each  side  of  which  a  chimerical  animal  is  standing, 
surmounted  by  two  cupids. 

Piece  of  charming  design  and  very  fine  execution. 

7  Niello,  with  the  original  Silver  plate 

Pass.  p.  328,  No.  687 

A  Roman  Sacrifice.  A  bull  is  being  led  from  the  right  to 
the  altar  in  the  center;  on  the  left  a  priest  pours  the  con¬ 
tents  of  a  cup  into  the  fire  burning  on  the  altar;  in  the 
background  twelve  men,  soldiers  and  priests,  one  holding 
an  axe,  another  military  insignia.  A  tree  stands  near  the 
border  on  the  right. 


11 


This  is  one  of  four,  which  Passavant  describes  as  being  in 
the  style  of  Nielli  of  the  Fifteenth  Century;  however,  with 
rather  heavy  outlines.  He  mentions  that  at  his  time  the 
silver  plates,  showing  no  nigellum,  (non  niellees),  were 
owned  by  Mr.  Colnaghi  in  London. 

On  account  of  the  plates  being  preserved  numerous 
modern  impressions  are  to  be  found. 

The  impression  shown  here  has  the  appearance  of  an 
early  one. 


B.  Anonymous  Engravings 

8  St.  Jerome  in  the  Wilderness 

Pass.  V.  17,  20,  Hind  26,  19 

On  the  right,  St.  Jerome,  half  naked,  kneels  at  the  mouth 
of  a  cave  before  a  crucifix,  over  which  a  scroll  bearing  the 
initials  INRI  (reversed)  is  fastened  to  a  miniature  tree.  The 
saint  grasps  a  stone  in  his  left  hand  and  pulls  his  garment 
open  with  his  right.  His  hat  and  three  books  lie  on  the 
ground  on  either  side  of  him.  Near  the  saint  a  lioness  lies 
on  the  ground;  farther  left,  a  lion  attacks  a  panther.  Farther 
back  left,  a  stag  is  grazing.  In  the  background  two  ships 
lie  at  anchor  in  a  harbor,  the  mouth  of  which  is  guarded  by 
two  towers  and  a  drawbridge. 

The  plate  of  this  engraving  is  still  in  existence;  it  shows  on 
its  reverse  the  engraving  to  be  described  under  the  following 
number.  Both  have  been  reprinted  in  Allessandro  da  Mor- 
ona’s  “Pisa  Illustrata”  (Livorno,  1812).  Hind  mentions  only 
modern  impressions,  stating  that  the  Paris  specimen  appears 
to  be  earlier,  however,  but  hardly  contemporary  with  the 
engraving.  Passavant  states  that  the  impressions  known  to 
him  might  be  recent  ones  of  an  old,  niellated  plate. 

The  impression  shown  here  has  the  appearance  of  an 
old  print  without  being  worked  over.  It  may  not  be 
quite  contemporary,  but  I  consider  it  much  older 
than  most  of  the  impressions  I  have  seen  while 
making  studies  for  this  publication. 


12 


9  The  Inferno,  according  to  Dante:  after  Orcagna’s 
Fresco  in  the  Campo  Santo  at  Pisa  (oblong  plate). 

Ottley  i,  373,  Pass.  V,  43,  102 

Hind  27,  20 

Lucifer  is  seen  in  the  midst  of  flames,  holding  the  three 
traitors,  Judas,  Brutus  and  Cassius,  in  his  three  mouths,  while 
a  fourth,  Simon  Magus,  according  to  an  inscription  (in  re¬ 
verse)  is  being  dragged  by  a  demon  from  another  mouth  in 
the  belly  of  the  monster.  He  holds  two  other  victims, 
Ptolemy  and  Antenor,  in  his  hands.  All  around,  in  four  rows 
and  different  compartments,  are  represented  the  tortures  of 
the  damned.  There  are  seven  Kings  in  the  claws  of  Lucifer, 
four  of  whom  show  the  names,  inscribed  on  their  crowns. 

In  the  upper  left  corner  are  the  words:  Questo+Elinferno-j- 
del+Chaposanto+Dipisa+. 

Ottley  and  Passavant  attribute  this  engraving,  which  in  spite 
of  the  fact  of  being  engraved  on  the  reverse  of  the  plate  of 
the  one,  previously  described,  shows  no  resemblance  to  the 
style  of  the  author  of  the  latter,  to  Baccio  Baldini.  It  shows 
great  resemblance  in  style  and  composition  to  one  of  the 
illustrations  to  the  Monte  Santo  di  Dio  (Hind,  83,  3).  Also, 
this  engraving  was  reprinted  in  Morona’s  book,  above  re¬ 
ferred  to.  The  engraving  was  probably  done  about  1470-80, 
but  to  my  knowledge,  there  are  no  old  impressions  known. 
Strong  impression  from  the  reworked  plate,  in  brown¬ 
ish-green  ink,  on  Eighteenth  Century  paper,  from 
the  Liphart  Collection. 


10  Dante  and  Virgil,  with  the  Vision  of  Beatrice. 

B.  XIII.  176,  38,  O.  I.  416,  2,  Hind  87,  2 

Illustration  to  Dante:  Divina  Commedia,  Florence,  1481, 

Canto  II. 

To  the  left  a  plain  country  with  trees;  in  the  right  fore¬ 
ground  a  sunk  lake  or  pond,  and  behind  it  a  hill,  in  the  side 
of  which  is  seen  the  opening  of  the  gate  of  hell,  with  the 
(first  words  of  Canto  III  (per  me)  inserted  above  the  lintel. 

Dante  and  Virgil  are  seen  twice,  on  the  left  where  Dante 
doubts  whether  to  follow  the  guidance  of  Virgil  farther,  and 
in  the  center  on  the  slope  of  the  hill,  where  Virgil  reassures 


13 


him  by  showing  him  the  vision  of  Beatrice  appearing  in  the 
sky. 

After  designs  for  the  Divina  Commedia  by  Botticelli.  Bartsch 
attributes  these  engravings  to  Baccio  Baldini  (who  is  said 
to  have  worked  in  Florence  between  1460  and  1480).  Ottley 
assigns  them  to  Sandro  Botticelli  himself. 

Beautiful,  early  impression  in  brown  ink. 

See  reproduction  on  cover. 

ii  The  Prophet  Jeremiah 

Florentine,  Broad  Manner 
Bartsch  XIII.  170,  10,  Hind  155,  10b 

Jeremiah,  the  Prophet,  is  seen  in  three  quarters  left,  seated  on 
clouds.  He  wears  a  kind  of  turban,  and  a  long  robe,  clasped 
in  front  with  an  ornamental  border;  with  his  right  hand  he 
holds  a  book  on  his  knee  and  lays  his  left  on  his  breast. 
Behind  his  head  is  a  scroll  with  the  words:  “Jeremia 
Propheta." 

Copy  in  the  broad  manner  of  one  of  the  series  of  the 
Prophets,  Florentine  fine  manner,  described  by  Bartsch 
under  Baccio  Baldini,  by  Hind,  under  School  of  Finiguerra. 

Dark  and  very  strong  early  impression. 

See  reproduction. 

12-61  The  set  of  fifty  instructive  prints  generally  known  as 
Tarocchi  Cards;  also  erroneously  called  the  Tarocchi 
Cards  of  Mantegna 

The  authorities  have  established  beyond  doubt  that  these  fifty 
most  interesting  early  prints  have  nothing  to  do  with  playing 
cards,  although  they  were  previously  generally  considered  to 
be  such.  This  was  due  to  the  fact  that  some  of  the  motives 
found  here  were  repeatedly  used  for  characters  of  early 
Italian  cards.  They  seem  to  be  an  emblematical  work,  anal¬ 
yzing  in  symbolical  representations  the  cosmos  in  general; 
illustrating  its  social,  aesthetic,  scientific,  moral,  astrological 
and  transcendental  elements. 

The  set  consists  of  five  different  series,  each  one  marked  by 

14 


■  1  -*  ’  ■■  ■<-  -  -  -  • 


r;:|  •  W  '  •  • 


f 


.  PtRVEROAME  SIFV  '®tERTl F1CMA1  C 
PMMACHEDpfO  CREAS  S  t  LA  IKA  M I A  7f 


*  CHELSVO  FIOIVOLO  EV  S  ANTI  f  (CATO 
NU.VENTRE  OVNA  CHEVFRGINF  F!A 
ETDAMo  LT  lESSEROVf  I  AVANGNIFICATO 
DATERRE  ETC{ EL  CONSOMMA  MELODIC 
ET SaPAGRANPROPHETADE LEE  G  ENT  E 


THE  PROPHET  JEREMIAH 
Florentine  broad  manner 


Cat.  i  i 


' 


a  letter  of  the  alphabet.  The  first  of  these  series  illustrates 
the  different  stations  in  life  of  man,  from  beggar  to  Pope. 
The  second  group  shows  Apollo  and  the  Muses;  the  third 
the  liberal  arts  and  sciences;  the  fourth,  the  three  Genii  of 
Light  (Sun),  Time  and  Universe  (World-Cosmico),  and 
the  seven  virtues.  The  last  group  illustrates  the  seven 
planets,  the  angels  of  the  eighth  and  ninth  Spheres  and  the 
Empyrean  Sphere  (Prima  Causa). 

Of  these  fifty  engravings,  two  different  series  are  known,  one 
following  the  compositions  of  the  other  quite  closely,  show¬ 
ing  generally  the  reverse  of  the  other  conception.  A  conflict 
between  the  authorities  has  long  existed  as  to  which  one 
of  these  series  is  to  be  considered  the  original  version.  The 
most  striking  difference  in  these  two  versions  is,  that  while 
in  the  one  the  five  different  groups  are  marked  with  the 
letters:  A,  B,  C,  D,  E,  in  the  other  set  the  letter  E  is  replaced 
by  an  S.  They  have  therefore  generally  been  spoken  of  as 
the  E  Series  and  the  S  Series.  Bartsch  describes  the  latter 
as  the  originals,  the  E  series  as  the  copies.  Passavant  de¬ 
fends  the  opposite  opinion,  which  is  also  upheld  by  Zani  and 
Ottley.  In  our  days  this  war  rages  more  bitterly  than  ever. 
Dr.  Paul  Kristeller  has  taken  the  stand  of  Bartsch,  pre¬ 
senting  strong  evidence  for  his  theories, — evidence  which 
appears  conclusive  to  many,  including  the  present  writer. 
The  British  authorities,  however,  oppose  this  view  very 
strongly.  Mr.  A.  M.  Hind,  whose  splendid  catalogue  of  the 
British  Museum  collection  I  am  using  here  as  principal 
reference  work,  attacks  the  position  of  the  Berlin  authority 
rather  brusquely  in  some  places. 

In  the  Bibliotheque  Nationale  at  Paris,  I  had  the  pleasure 
of  examining  the  two  complete  sets,  preserved  there  in  the 
contemporary  binding.  Using  Dr.  Kristeller’s  Publication 
of  the  Graphical  Society  of  Berlin,  as  a  guide,  Mr.  Courboin 
(the  Director  of  the  Print  Department  of  that  institution)  and 
I  arrived  at  the  opinion  that,  while  the  E  set  showed  a 
greater  technical  skill  and  preciseness  in  line  than  the  other, 
the  latter  showed  a  considerably  greater  artistic  originality 
both  in  conception  and  characterization.  Comparing  the  ex¬ 
pressions  of  the  faces  in  the  two  series,  it  is  easily  to  be 
seen  that  those  of  the  S  set,  while  certainly  showing  a  less 
skilled  hand  and  coarser  work,  appear  highly  characteristic 
and  full  of  life  and  expression,  those  of  the  E  set  have  mostly 
no  expression  at  all,  appear  insipid  and  dull,  and  thus  betray 


15 


doubtless  the  hand  of  an  imitator  or  copyist,  who  technically, 
however,  as  an  engraver,  might  have  stood  above  the  com¬ 
poser  of  the  originals.  Nowhere  else,  probably,  can  these 
facts  be  ascertained  so  clearly  as  in  Paris,  where  the  two 
sets  are  exactly  alike  in  quality  of  impression,  preservation 
and  even  in  the  tone  of  paper  and  ink,  showing  that  peculiar 
light  greyish  green  color  and  producing  a  very  light  and  soft 
effect,  while  all  the  very  fine  lines  are  clear  in  appearance. 

In  the  British  Museum  only  the  impressions  of  the  E  set 
are  of  that  same  quality,  although,  mounted  individually,  they 
all  come  from  one  set  separated  from  the  early  binding,  and 
showing  wide  margins.  I  think  that  before  the  series  were 
printed  for  the  publication  in  book  form,  single  impressions 
must  have  been  taken,  as  many  of  the  other  impressions  I 
have  encountered  show  a  deeper  tone  in  strong  black  ink 
(Berlin). 

The  S  set,  in  the  British  Museum,  consists  mainly  of  late, 
worked-over  impressions,  showing  none  of  the  qualities  of  the 
early  impressions.  A  comparison  of  the  two  series  there 
might  consequently  lead  the  spectator  to  the  conclusion  that 
the  latter  set  formed  repetitions  or  free  copies  of  the  other. 
While  in  the  Museum  I  had  the  opportunity  to  submit  my 
views  regarding  the  character  of  expression  of  the  two  series 
to  the  present  head  of  the  print  division  there;  I  took  as 
criterion  the  reproductions  in  the  catalogue  of  the  Museum 
(Cosmico  XXXIII)  and  I  had  the  great  satisfaction  that  the 
learned  gentleman  agreed  with  my  argument  in  that  point. 
With  the  exception  of  one  single  item,  the  prints  shown  in 
this  exhibition  belong  to  the  E  set.  An  interesting  fact, 
which  seems  to  uphold  my  theory  is,  that  the  one  specimen 
of  the  S  set,  shown  here  (Fameio  II)  is,  while  of  the  same 
quality  of  printing  and  paper  as  the  majority  of  the  rest, 
by  far  the  most  beautiful  of  all.  For  this  reason  it  is  repro¬ 
duced  in  this  catalogue,  together  with  one  of  the  most 
beautiful  conceptions  of  the  other  series:  Primo  Mobile 
XXXXVIIII. 

With  four  exceptions  the  quality  of  print  and  paper  of  the 
prints  shown  here  is  the  same,  therefore  I  shall  only  make 
special  mention  when  a  difference  occurs.  The  paper  is  yel¬ 
lowish,  thin,  but  strong,  and  shows  in  many  instances  the 
watermark  of  a  pair  of  scissors.  Most  impressions  have 
wide  margin,  the  ink  is  grey,  slightly  greenish.  The  impres¬ 
sions  are  before  any  retouches,  but  in  most  cases  from  plates 


16 


FAMEIO  II.  THE  SERVANT 
From  the  S  set  of  the  Tarocchi  Cards  Cat.  13 


used  so  much  that  the  fine  shading  only  appears  weakly. 
The  set  is  from  the  Durazzo  Collection,  in  the  original  case, 
only  two  of  the  series  being  shown  here  in  frames.  It  is 
described  in  the  catalogue  of  the  Durazzo  Sale,  Stuttgart, 
1872:  Complete,  in  richly  decorated  leather  case,  superb  im¬ 
pressions  with  margin,  of  the  most  beautiful  preservation, 
extremely  rare. — Bartsch  XIII,  120,  18-67,  Hind,  p.  217-256. 
Kristeller,  special  publication  of  the  Graphische  Gesellschaft, 
Berlin:  The  Tarocchi. 


FIRST  GROUP  E  (S)  i-io. 

12  The  Beggar  (Misero  I) 

Early,  but  somewhat  worn  impression,  in  grey  ink,  on  thin 
paper,  damaged  in  lower  part  so  that  the  letter  E  is  hardly, 
the  number  “1”  not  visible.  Margin  restored  to  the  size  of 
that  of  the  rest  of  the  set. 

13  The  Servant  (Fameio  II)  S.  2 

Beautiful  impression  of  the  only  print  of  the  S  series,  shown 
here.  The  four  nail-holes  to  fasten  the  plate,  which  appear 
on  the  borders  of  all  the  prints  of  the  E  set,  do  not  appear 
here.  The  composition  is  in  the  reverse  of  the  same  in  the 
other  set  and  differs  from  that  in  various  points,  but  exceeds 
it  in  beauty  and  dignity.  The  treatment  shows,  however,  the 
coarser  work,  the  fine  hatchings  go  in  places  beyond  the  out¬ 
line  of  the  design. 

See  reproduction 

14  The  Artisan  (Artixan  III)  E.  3 

15  The  Merchant  (Merchadante  IIII)  E.  4 

16  The  Gentleman  (Zintilomo  V)  E.  5 

17  The  Knight  (Chavalier  VI)  E.  6 

18  The  Doge  (Doxe  VII)  E.  7 

The  fact  that  this  rank  is  represented  here,  probably 


17 


instead  of:  “The  Duke,”  shows  that  the  engravings 
are  from  the  hand  of  a  Venetian  artist. 

19  The  King  (Re  VIII)  E.  8 

ao  The  Emperor  (Imperator  VIIII)  E.  9 

31  The  Pope  (Papa  X)  E.  10 

SECOND  GROUP:  APOLLO  AND  THE  MUSES. 
33  Calliope  (Caliope  XI)  D.  11 

33  Urania  (Urania  XII)  D.  13 

34  Terpsichore  (TERPSICORE  XIII)  D.  13 

35  Erato  (ERATO  XIIII)  D.  14 

36  Polyhymnia  (Polimnia  XV)  D.  15 

37  Thalia  (TALIA  XVI)  D.  16 

38  Melpomene  (MELPOMENE  XVII)  D.  17 

39  Euterpe  (EVTERPE  XVIII)  D.  x8 

30  Clio  (CLIO  XVIIII)  D.  19 

31  Apollo  (APOLLO  XX)  D.  30 

THIRD  GROUP:  ARTS  AND  SICENCES. 

33  Grammar  (Grammatica  XXI)  C.  ai 

33  Logic  (LOICA  XXII)  C.  aa 

34  Rhetoric  (RHETORICA  XXIII)  C.  33 


18 


35 

36 

37 

38 

39 

40 

4i 

42 

43 

44 

45 

46 

47 

48 

49 


Geometry  (GEOMETRIA  XXIV)  C.  24 

The  C.  in  the  title  is  engraved  as  a  correction  over 
the  lower  part  of  an  E. 

Arithmetic  (Aritmeticha  XXV)  C.  25 

Music  (MUSICHA  XXVI)  C.  26 

Poetry  (POESIA  XXVII)  C.  27 

Philosophy  (PHILOSOFIA  XXVIII)  C.  28 

Astronomy  (ASTROLOGIA  XXVIIII)  C.  29 

Theology  (THEOLOGIA  XXX)  C.  30 

FOURTH  GROUP: GENII  AND  VIRTUES. 

Genius  of  the  Sun  (ILIACO  XXXI)  B.  31 
Genius  of  Time  (CHRONICO  XXXII)  B.  32 
Genius  of  the  World  (COSMICO  XXXIII)  B.  33 
Temperance  (TEMPERANCIA  XXXIIII)  B.  34 
Prudence  (PRVDENCIA  XXXV)  B.  35 

Fortitude  (FORTEZA  XXXVI)  B.  36 

Stronger  impression,  with  more  tone  than  the  major¬ 
ity,  the  margin  is  more  narrow,  too,  than  that  of  the 
rest. 

Justice  (JVSTICIA  XXXVII)  B.  37 
Charity  (XXXVIII)  B.  38 


19 


50  Hope  (SPERANZA  XXXVIIII)  B.  39 

51  Faith  (FEDE  XXXX)  B.  40 

FIFTH  GROUP:  PLANETS  AND  SPHERES. 

52  Moon  (LUNA  XXXXI)  A.  41 

Impression  of  the  same  tone,  quality  and  margin  as 
No.  47. 

53  Mercury  (MERCVRIO  XXXXII)  A.  42 

54  Venus  (VENVS  XXXIII)  A.  43 

55  Sun  (SOL  XXXXIIII)  A.  44 

56  Mars  (MARTE  XXXXV)  A.  45 

57  Jupiter  (JVPITER  XXXXVI)  A.  46 

58  Saturn  (SATVRNO  XXXXVII)  A.  47 

59  The  Angel  of  the  eighth  Sphere,  or  Sphere  of  the  fixed 
stars  (OCTAVA  SPERA  XXXXVIII)  A.  48 

60  The  Angel  of  the  ninth  Sphere  (PRIMO  MOBILE 
XXXXVIIII) 

See  reproduction  No.  6. 

61  The  Empyrean  Sphere  or  First  Cause  (PRIMA  CAVSA 
XXXXX)  A.  50 

The  Universe  represented  in  a  mathematical  figure.  In  the 
center  are  the  four  elements  in  concentric  circles.  Round 
these  are  the  nine  spheres  of  the  planets,  the  fixed  stars,  and 
the  Primum  Mobile,  while  the  whole  is  enclosed  in  the  three- 


20 


THE  ANGEL  OF  THE  NINTH  SPHERE 

From  the  E  set  of  the  Tarocchi  Cat.  No.  60 


fold  Sphere  of  the  Empyrean,  which  is  itself  enringed  with 
rays. 

Strong  impression,  apparently  earlier  than  the  rest ; 
no  margin. 


62  St.  Jerome,  Anonymous  Master  of  the  early  16th  Century 

Bartsch  XV,  472,  13 
P.  V,  18,  21 
Hind  314,  16 

The  Saint  kneels  in  the  center  of  the  foreground  before  a 
crucifix,  beating  his  breast  with  a  stone,  held  in  his  right 
hand.  The  lion,  open  mouthed,  between  him  and  the  cross  to 
the  left,  which  shows  the  letters:  I.  N.  R.  I.  Behind  the 
cross  a  cave.  In  the  background  a  tall  building,  rocks,  and 
a  river  with  ships. 

The  print  has  been  attributed  to  Robetta,  and  also  to 
Gasparo  Reverdino,  (Bartsch),  who  worked  about 
1531.  Both  Passavant  and  Hind  doubt  the  correct¬ 
ness  of  either  attribution. 

Very  beautiful  and  clear  early  impression  in  perfect  condition. 


63  Follower  of  Robetta 
The  Death  of  Virginia 

B.  XII  108,  Pass  V,  55 
Ottley  I,  458,  Hind,  p.  315,  18,  Kristeller  (Lucantonio)  2 

Virginius  in  the  center,  about  to  stab  his  daughter,  who 
stands  by  his  side  to  the  left.  A  woman  behind  her  tries  to 
intercept  him.  Farther  left,  beneath  a  bare  tree,  is  a  group 
of  three  soldiers,  and  in  the  foreground,  left,  are  two  boys, 
with  torch  and  toys.  To  the  right  Appius  Claudius,  sur¬ 
rounded  by  four  officers,  in  the  background,  between  this 
group  and  Virginius  a  youth,  nearly  naked,  holding  his  left 
arm  above  his  head. 


21 


Ottley  attributes  this  print,  which  in  detail  shows  much 
resemblance  with  the  work  of  Robetta,  to  Gherardo  Fioren- 
tino.  Kristeller  gives  it  to  Lucantonio  degli  Uberti. 

Strong,  early  impression,  in  good  condition,  from  the 
Collection  of  Count  Enzenberg. 

64  The  Bust  of  Christ,  with  the  crown  of  thorns 
Surrounded  by  an  ornamental  border 

Height  7  in  11,  width  5  in  61 

I  did  not  succeed  in  finding  any  description  of  this 
engraving,  apparently  done  by  some  anonymous 
Italian  artist  towards  the  end  of  the  15th  Century.  It 
shows  the  character  of  Florentine  work  in  fine  man¬ 
ner.  The  border  looks  like  Niello  work. 

Beautiful,  clear  early  impression,  in  perfect  condition. 


22 


ANDREA  MANTEGNA.  CHRIST  BETWEEN 
SS.  ANDREW  AND  LONGINUS 


Cat.  7  2 


Part  II. 

Engravings  by  known  Masters. 

A.  Andrea  Mantegna,  1431-1506,  His  School  and  Followers. 
Original  Engravings  by  Mantegna: 

65  The  Virgin  and  Child 

.  Bartsch  8,  Kristeler  3,  Hind  1 

The  Virgin,  draped  in  an  ample  robe,  sits  on  the  ground  with 
knees  raised;  she  holds  the  Child  close  in  her  arms,  and  bend¬ 
ing  forward  toward  the  right,  leans  her  cheek  against  his. 
Beautiful  impression  of  the  second  state  (with  the 
halo)  in  brown  ink,  owing  to  weak  spots  and  tears, 
mounted. 

See  reproduction  facing  title  page 

66  Bacchanalian  Group  with  Silenus 

B.  20,  Kr.  7,  Hind  2 

In  the  center,  before  a  vine,  Silenus  is  raised  on  the  arms 
of  two  fauns  and  a  satyr,  who  is  placing  a  wreath  of  leaves 
and  fruit  on  his  head.  To  the  left  is  a  lad  facing  front,  with 
a  man  on  his  back,  and  another  farther  to  the  left  is  lifting 
a  fat  woman  off  the  stump  of  a  tree  in  the  midst  of  a  pool  of 
water  and  carrying  her  on  his  back  to  land.  On  the  right  a 
curly-headed  youth  plays  on  a  flute  and  a  bald  man  on  a 
Pan’s  pipe. 

Magnificent,  rich  and  early  impression,  in  greenish 
gray  ink,  the  paper  is  repaired  in  various  places. 

67  The  Same 

Beautiful  impression,  but  considerably  later,  in  brown 
ink,  in  excellent  condition.  Perfect  on  the  face,  little 
tears  in  the  lower  margin  underlaid,  the  lower  right 
corner  in  the  white  paper  restored. 

Duplicate  of  the  British  Museum. 


23 


68  Bacchanalian  Group  with  a  cask  (Bacchanale  a  la  cuve) 

B.  19,  Kr.  6,  Hind  3 

Near  the  center  is  a  cask,  or  wine  press,  at  the  foot  of  an 
apple  tree  over  which  a  vine  grows  laden  with  grapes.  A 
young  man  sits,  intoxicated,  upon  the  left  edge  of  the  cask, 
while  a  faun  crowned  with  leaves  supports  him.  Another 
faun,  wearing  a  goat  skin  and  blowing  a  horn,  sits  on  the 
right  edge;  a  third,  with  bells  round  his  arms  ajid  ankles, 
stands  drinking  from  a  bowl.  Two  children  lie  asleep  on 
the  ground,  and  a  third  climbs  up  the  side  of  the  cask,  with 
his  foot  upon  the  spigot,  from  which  the  flowing  wine  makes 
a  pool  about  the  feet  of  the  drinking  faun.  A  satyr,  holding 
jug  and  bowl,  stands  to  the  left  of  the  cask;  farther  left  is 
another  group  composed  of  a  child,  and  a  man  wearing  a 
lion’s  skin,  with  another  man  upon  his  shoulders;  the  latter 
holds  a  wreath  of  leaves  over  the  head  of  a  young  man 
who  stands  in  full  front  looking  upward,  with  his  right 
hand  resting  on  a  cornucopia  full  of  grapes.  On  the  tree 
a  tablet  without  inscription. 

Early  impression,  as  far  as  tone  and  printing-  are  con¬ 
cerned,  of  supreme  beauty.  The  upper  part,  about 
an  inch  and  a  quarter  wide,  had  been  cut  off  and  is 
most  cleverly  restored. 

From  the  Brentano  Birkenstock  Collection. 

See  reproduction. 


69  Battle  of  Sea-Gods:  The  left  portion  of  a  Frieze 

B.  18,  Kr.  5,  Hind  4 

Toward  the  left,  a  beardless  sea-god,  holding  a  long  sceptre 
in  his  right  hand,  rides  toward  the  spectator  on  an  open- 
mouthed,  scaly  monster;  behind  him,  on  the  back  of  the 
monster,  stands  Envy,  in  the  shape  of  a  lean  and  hideous 
hag,  holding  out  in  her  left  hand  a  tablet,  showing  the 
inscription  INVID  and  some  indecipherable  characters  below. 

Two  other  gods  mounted  on  sea-horses  fight  furiously,  the 
one  on  the  right  armed  with  a  rod,  the  other  with  a  bunch 
of  three  fish  tied  together  by  their  heads.  Behind,  near 
a  clump  of  reeds,  is  a  statue  of  Neptune  holding  a  trident 
and  a  dolphin  on  a  pedestal,  turned  away  from  the  spectator. 


24 


ANDREA  MANTEGNA.  THE  BACHANALE  A  LA  CUVE  Cat.  68 


In  the  further  background  is  a  hill  surmounted  by  a  walled 

town. 

Impression  on  brownish  paper  in  black  ink,  of  su¬ 
preme  beauty,  showing  the  plate  line.  In  a  few  spots 
cleverly  restored. 

From  the  Collection  of  Sir  Joshua  Reynolds. 

70  Battle  of  Sea-Gods,  right  portion  of  a  Frieze 

B.  17,  Kr.  4,  Hind  5 

In  the  foreground  two  sea-centaurs,  each  having  a  nereid 
mounted  on  his  scaly  back,  are  engaged  in  single  combat, 
one  of  them  parrying  with  a  horse’s  skull  the  blow  which 
the  other  is  aiming  at  him  with  a  bone.  Two  men  stand 
behind  in  shallow  water  near  the  reeds;  one  blows  a  horn 
and  parries  with  his  left  the  blow  which  another  aims  at 
him  with  a  couple  of  fish. 

Good  impression,  much  later,  though,  than  No.  69,  in 
brownish  black  ink,  in  perfect  condition. 

71  The  Entombment  (horizontal  plate) 

B.  3,  Kr.  1,  Hind  6 

Joseph  of  Arimathea  and  Nicodemus  are  carrying  the  body 
of  Christ  to  the  tomb,  which  is  placed  within  the  mouth  of 
a  cave  near  the  center  of  the  composition.  One  of  the  holy 
women  is  assisting  them  in  their  task,  and  Magdalen  and 
another  disciple  stand  weeping  behind  them,  the  former 
throwing  up  her  arms  with  a  wild  gesture  of  despair.  At  the 
end  of  the  tomb  is  the  inscription:  HUMANI  GENERIS 
REDEMPTORI.  Toward  the  right  the  Virgin  has  fainted 
and  two  of  the  holy  women  are  tending  her,  while  S.  John 
stands  in  profile,  left,  with  clasped  hands,  uttering  a  cry  of 
grief.  In  the  background  a  winding  road  leads  to  Mount 
Calvary,  on  which  are  reared  three  crosses. 

Late  impression  in  brown  ink. 

72  The  Risen  Christ  between  Saints  Andrew  and 

Longinus 

B.  6,  Kr.  2,  Hind  7 

Christ,  seen  in  full  face,  stands  in  the  center  before  his 
empty  tomb.  He  gives  the  benediction  with  his  right 


95 


hand,  and  holds  a  banner  with  his  left.  St.  Andrew  stands 
to  the  left,  supporting  a  large  cross  with  both  hands.  Longi¬ 
nus  stands  to  the  right  with  his  hands  folded,  looking  toward 
Christ.  A  spear  rests  against  his  right  shoulder  and  a  helmet 
is  on  the  ground  by  his  feet. 

Very  beautiful  impression  in  brown  ink,  in  perfect 
condition. 

See  reproduction  facing  page  23 


Engravings  attributed  to  Mantegna,  but  as  Dr. 
Kristeller  and  Mr.  Hind  contend  probably 
executed  by  pupils 

73  The  Triumph  of  Caesar:  Soldiers  carrying  trophies 

Bartsch  14,  Hind  a* 

Reversed  copy  from  Bartsch  13  and  Hind  2,  with  various 
alterations  in  details  of  ornament,  and  the  addition  of  a 
pilaster  with  arabesque  ornament  on  the  right. 

Strong  early  impression,  in  brown  ink. 

74  The  Triumph  of  Caesar:  The  Senators 

B.  11,  Hind  3 

The  senators,  (so-called),  bare-headed  and  wearing  togas, 
with  a  child  among  them,  march  toward  the  right,  followed 
by  soldiers  fully  armed,  some  of  whom  carry  olive  branches. 

In  the  background  is  a  house  with  spectators  at  the  windows, 
resting  on  arches,  within  which  hang  wreaths  and  a  tablet. 
Farther  back,  to  the  left,  is  a  round  tower,  with  medallions 
between  the  upper  windows. 

Good  impression  in  brown  ink. 

75  The  Scourging  of  Christ  (with  the  pavement) 

B.  1,  Hind  4 

Christ  is  bound  by  the  arms  to  one  of  the  columns  of  a 
portico  in  the  background.  Three  men  are  scourging  him, 
and  others  stand  behind.  Two  soldiers  in  armour  stand 


26 


B.  5  ANDREA  MANTEGNA.  CHRIST  DESCENDING  Cat.  Nr.  76 

INTO  HELL 


toward  the  front,  right,  and  a  third,  seen  from  the  back, 
sits  left  The  entire  background  on  the  left  side  and  the 
upper  portico  remain  unfinished.  The  pavement  is  divided 
into  squares. 

A  copy  of  this  print  exists,  showing  a  landscape  background, 
and  the  pavement  is  replaced  by  stony,  unpaved  ground. 
Impression  of  the  greatest  beauty,  in  dark  brown  ink. 
From  the  John  Tetlow  Collection. 


76  Christ  descending  into  Hell 

B.  5,  Hind  5 

On  the  left,  near  the  center,  is  the  gate  of  Hell,  a  round, 
arched  opening  in  a  wall  of  rock.  The  doors  have  been  torn 
from  their  hinges  and  broken.  Christ  stands  upon  them, 
holding  a  banner,  and  faces  the  opening,  within  which  two 
souls  are  seen  rising  to  meet  him.  Three  naked  figures  of 
Patriarchs,  already  redeemed,  Adam,  Eve  and  Abel,  stand 
beneath  the  wall,  right;  the  penitent  thief  stands  left,  sup¬ 
porting  a  large  cross  with  both  hands.  Three  winged  demons 
fly  overhead,  two  of  them  blowing  horns. 

Superb  impression,  in  dark  brown  ink. 

See  reproduction  No.  10. 


77  Hercules  and  Antaeus 

B.  16,  Hind  9 

Hercules  stands  in  full  face,  lifting  Antaeus  from  the  ground 
by  the  waist  with  his  left  arm,  while  with  his  right  hand  he 
seizes  the  hair  of  his  victim,  who  has  his  back  turned  toward 
the  spectator,  with  the  legs  wide  apart.  A  flying  drapery  at¬ 
tached  to  the  right  arm  of  Hercules  passes  behind  his  back 
and  across  the  right  leg  of  Antaeus.  His  lion’s  skin  is  flung 
over  the  trunk  of  a  tree  to  the  right,  from  which  hang  a  bow 
and  quiver;  a  club  rests  on  the  ground  against  the  stem. 

Near  to  the  left  margin  is  the  vertical  inscription:  DIVO 
HERCULI  INVICTO. 

Beautiful  impression,  printed  in  brown  ink,  in  perfect 
condition. 


27 


Direct  followers  of  Mantegna 

Zoan  Andrea,  worked  at  Mantua  about  1475. 

78  Four  Women  dancing 

Bartsch  18 

Hind,  under  Mantegna  II,  n 

Four  women,  in  loose  drapery  of  antique  fashion,  dance 
hand  in  hand.  The  two  on  the  left  move  toward  the  right; 
the  one  in  the  center  is  seen  from  the  back,  and  the  other, 
right,  faces  nearly  front,  but  moves  toward  the  left. 

This  print,  which  Hind  justly  calls  one  of  the  most  beau¬ 
tiful  engravings  of  the  school  of  Mantegna,  reproduces  in 
reverse,  with  variations,  four  of  the  dancing  nymphs  from 
Mantegna’s  painting,  “The  Parnassus,’’  in  the  Louvre.  It  was 
most  probably  engraved  after  a  drawing  by  Mantegna  for 
that  picture. 

Beautiful,  strong  impression,  in  dark  brown  ink,  and 
perfect  condition. 

See  reproduction. 

79  The  Same 

Impression  of  the  same  quality,  in  a  lighter  brown  ink. 

80  Ignorance  and  Mercury:  An  Allegory  of  Virtue  and 

Vice 

On  two  plates,  making  one  composition. 

The  upper  portion.  Bartsch  16 

Hind,  unter  Mantegna  II,  12a 
A  fat  blind  woman  wearing  a  crown  (Ignorance?)  is  seated 
upon  a  globe,  supported  by  sphinxes,  holding  a  rudder  in  her 
left.  A  bag  of  money  stands  against  the  globe,  another  lies 
on  the  pavement,  right,  having  apparently  been  emptied  in 
a  square  pit  full  of  coins.  Close  by,  to  the  right,  are  laurel 
branches  burning,  below  the  inscription:  VIRTUS  COM- 
BUSTA,  near  the  margin. 

Envy,  an  old  hag,  right,  and  Suspicion,  a  young  woman, 
blindfolded,  stand  behind  the  globe  as  counsellors  of  Ignor¬ 
ance.  Farther  left  a  blind  woman,  led  by  a  blind  man  with 
the  ears  of  an  ass,  and  listening  to  the  music  of  a  satyr, 
with  bat’s  wings,  who  plays  on  a  bag-pipe,  advances  to  the 


28 


SCHOOL  OF  MANTEGNA  (Zoan  Andrea)  FOUR  WOMEN  DANCING 


brink  of  an  unsuspected  pitfall.  Close  behind  her  a  blind¬ 
folded  man,  holding  a  dog,  which  tries  to  lead  him  away  from 
the  danger,  advances  in  the  same  direction. 


8 1  The  Lower  Portion 


Bartsch  17,  Hind  12b 

In  the  center  the  pit,  the  opening  of  which  appeared  in  the 
upper  part.  It  is  full  of  blind  men  and  women  who  have 
already  fallen  over  the  brink  and  lie  one  over  another  in  . 
every  variety  of  attitude.  One  of  them,  to  the  right,  is 
being  rescued  by  Mercury.  At  the  back  of  the  pit  is  a 
wooden  door,  fastened  by  a  massive  bolt  and  lock;  another 
door  behind  Mercury  seems  to  belong  to  the  pit  full  of 
gold,  of  which  the  opening  is  seen  in  the  upper  part.  To 
the  left  a  figure  like  Daphne,  with  her  arms  turned  into 
laurel  branches,  standing  amidst  thorns  and  architectural 
fragments;  on  a  tablet  hung  round  her  body  are  the  words: 
VIRTUS  DESERTA,  and  on  a  stone  below  is  the  in¬ 
scription:  VIRTUTI  S.  A.  I. 

Characters  of  these  prints,  especially  the  woman  turned  into 
a  laurel  tree  and  the  crowned  Ignorance,  appear  in  Ma- 
tegna’s  painting,  “The  Triumph  of  Virtue  over  the  Vice,” 
at  the  Louvre.  The  British  Museum  possesses  Mantegna’s 
original  design  for  the  upper  part. 

Both  strong-  and  early  impressions  of  highest  quality 
in  printing  and  condition. 


82  Upright  Arabesque  with  a  Satyr  holding  a  violin 

B.  30,  Hind,  p.  400,  10  (B) 

A  Satyr,  holding  a  violin  in  his  left  hand  and  the  bow  in 
his  right,  is  seated  in  front  of  the  pedestal  of  a  tall  vase. 

In  the  center  are  two  children  embracing  one  another,  and 
higher  still  is  a  trophy  of  weapons  and  armour. 

Hind  attributes  this  ornament  engraving  to  the  Master  of 
the  Sforza  Book  of  Hours. 

Clear  impression,  with  margin,  in  perfect  condition. 


29 


»3 


Giovanni  Antonio  da  Brescia,  born  about  1461 

The  Holy  Family  with  the  Infant  St.  John 

B.  5,  Hind  4 

The  Virgin  sits  facing  three-quarters  left.  The  Child  stands 
on  her  lap  and  puts  his  left  arm  round  her  neck.  Elizabeth 
stands  to  the  left;  at  her  feet  the  Infant  S.  John  offers 
flowers  to  Jesus.  Joseph  leaning  on  a  staff  stands  to  the 
right. 

Superb  early  impression  of  the  first  state,  before  the 
shading  of  the  background  with  cross-hatchings. 

See  reproduction  No.  12. 

84  Man  Holding  a  Forked  Staff 

Pass.  V.  no,  50;  Hind  15 

A  naked  man,  bearded  and  curly-haired,  sits  on  a  rock  in 
profile  toward  the  left.  His  right  leg  is  raised  and  stretched 
out  before  him,  the  left  leg  is  drawn  slightly  back.  In  his 
left  hand  he  holds  a  tall  staff,  forked  at  the  top,  with  one 
of  its  extremities  carved  in  the  shape  of  a  mask  with  a 
long  beard.  A  tall,  slender  plant  grows  beside  the  rock 
at  the  left. 

Fine,  early  impression  from  the  Julian  Marshall  col¬ 
lection. 

85  Woman  watering  a  plant 

B.  21;  Pass.  V.  106,  19;  Hind  16 

A  young  woman,  seen  in  full  face,  with  loose  drapery  over 
her  right  arm  and  lower  limbs,  lifts  a  vase  in  her  left  hand 
and  holds  in  her  right  a  pitcher,  from  which  she  is  watering 
a  plant.  In  the  background  is  a  landscape  with  two  castles 
on  opposite  banks  of  a  river,  and  a  bridge  between  them. 

Signed  in  lower  right  corner.  This  same  subject  has  been 
treated  in  reverse  by  Marc  Antonio  Raimondi. 

Good,  early  impression. 


86 


Anonymous  Master  in  the  style  of  Giov.  Ant. 
da  Brescia 


Bartsch  13,  Copy  2,  Hind  3** 


Hercules  and  Antaeus. 


30 


GIOVANNI  ANTONIO  DA  BRESCIA 
HOLY  FAMILY 


Cat.  83 


Hercules  clutches  Antaeus  firmly  with  both  arms  round  the 
waist,  lifting  him  from  the  ground.  He  wears  the  lion’s 
skin;  his  club  lies  on  the  ground,  his  bow  and  quiver 
hang  on  a  tree  to  the  left.  The  tablet  on  the  tree  shows 
no  signature.  Inscribed  vertically  near  the  left  border: 
Divo  Herculi  Invicto.  Contemporary  copy,  after  Giov.  Ant. 
da  Brescia. 

Fine  early  impression. 


B.  Other  Italian  engravers  of  the  end  of  the 
1 5th  Century 

Cristofano  Robetta,  born  Florence,  1463, 
worked  until  1522. 

87  The  Adoration  of  the  Magi 

Bartsch  6,  Hind  199,  6 

The  Virgin,  with  the  Child  on  her  lap,  is  seated  in  the  center 
beneath  a  thatched  roof,  which  rests  on  two  trunks  of  trees. 
Joseph  stands  behind  her,  left,  while  an  ox  and  an  ass  appear 
to  the  right.  In  the  foreground  are  the  three  Kings,  two 
of  them  kneeling,  with  a  number  of  attendants,  right  and 
left.  Two  groups  of  men  in  their  retinue  appear  further 
back  on  a  road  to  the  left.  In  the  background  is  a  hilly 
landscape  with  a  lake  and  buildings  on  its  shores.  Three 
angels  holding  a  scroll  hover  above  the  Virgin  and  Child. 

Signed — Robetta— below,  toward  the  right,  underneath  the 
headdress  of  one  of  the  Magi. 

The  plate  of  this  engraving  is  still  preserved  at  the  British 
Museum.  It  has  been  printed  often  in  later  periods  and 
modern  impressions  are  of  frequent  occurrence.  On  the 
reverse  of  the  plate  is  the  engraving,  for  the  Allegory  of 
the  Power  of  Love,  No.  90  of  this  Catalogue. 

Strong,  but  not  contemporary,  impression  in  perfect 
condition,  with  margin. 

88  The  Same 

Impression  of  the  same  quality  of  condition,  a  little 
lighter  in  printing  and  probably  later  still. 


31 


89  Allegory  of  Envy 


Bartsch  24,  Hind  15 

A  withered  hag,  almost  naked,  stands  in  the  center,  turning 
her  back,  with  a  sour  expression  of  countenance,  upon  a  pair 
of  lovers  seated  on  a  rock  beneath  trees  on  the  left.  An¬ 
other  pair  of  lovers  stand  embracing  each  other,  right.  A 
naked  child,  holding  a  bird,  sits  in  a  distorted  attitude  below 
the  first  pair  of  lovers.  In  the  background  is  a  road  leading 
to  a  walled  town.  Unsigned.  The  landscape  is  the  reversed 
copy  of  that  on  Duerer’s  engraving:  “The  Power  of 
Jealousy,"  B.  73. 

Fine,  clear  impression  of  the  second  state  (showing 
nail-holes  in  the  center  of  the  upper  and  lower  border. 


90  Allegory  of  the  Power  of  Love 

Bartsch  25,  Hind  16 

In  the  center  a  young  man  is  seated  on  a  rock  beneath  a 
tree.  With  his  right  arm  he  embraces  a  woman  who  stands 
beside  him,  while  his  left  arm  is  raised  above  his  head,  and 
a  cupid  is  binding  it  by  the  wrist  to  a  bough  of  the  tree. 
Immediately  to  the  woman’s  left  stands  a  boy,  who  seems 
to  be  piercing  her  back  with  a  bundle  of  arrows,  which  he 
holds  in  his  left  hand  above  his  head;  still  further  left  stands 
a  man,  looking  toward  the  central  group.  To  the  right  a 
man  is  leading  away  a  woman  who  offers  some  resistance 
and  raises  her  right  arm  appealingly.  Further  right,  hold¬ 
ing  the  man’s  leg,  is  another  boy,  with  his  left  foot  resting 
on  a  skull.  Signed:  “Robeta”  on  a  tablet  hung  from  the 
bough  of  a  tree. 

The  plate  is  engraved  on  the  reverse  of  the  one  of  the 
Adoration  of  the  Magi,  see  No.  87. 

Beautiful  early  impression. 

See  reproduction 


B.  25 


ROBETTA.  ALLEGORY  OF  THE  POWER 
OF  LOVE 


Cat.  90 


Jacopo  de’  Barbari 

Born  at  Venice  about  1440,  worked  in  Germany  and  the 
Netherlands,  where  he  was  called  Jacob  Walch,  about  1515. 

91  The  Holy  Family  with  S.  Elizabeth 

B.  VII,  4 ;  Kristeller  5,  Hind  5 

The  Virgin,  right,  and  S.  Elizabeth,  left,  sit  facing  one 
another  on  the  ground  before  an  open  fence  or  railing. 

Each  has  her  son  at  her  knee.  The  Virgin  lays  her  left 
hand  on  a  book.  Lower  down,  left,  S.  Joseph  stands  with¬ 
out  the  rail,  on  which  he  leans,  looking  toward  the  Virgin 
and  Child.  In  the  background,  left,  rising  ground  with  a 
group  of  trees,  and  to  the  right  the  sea.  Caduceus  in  lower 
right  corner. 

Good  impression  with  wide  margin,  from  the  Reiss 
Collection. 

92  The  Holy  Family  with  St.  Paul 

B.  5,  Kr.  6,  Hind  6 

The  Virgin  sits  in  the  center  at  the  foot  of  a  tree,  laying 
her  right  hand  on  an  open  book  and  her  left  on  the 
shoulder  of  her  child,  who  stands  at  her  knee.  Behind  the 
seat,  left,  is  S.  Anne,  contemplating  the  Virgin  with  folded 
hands;  further  left  sits  an  angel  playing  a  lute.  S.  Paul 
stands  in  profile  to  the  left,  near  the  foot  of  another  tree, 
grasping  with  both  hands  the  hilt  of  a  sword.  In  the  fore¬ 
ground,  left,  water  falls  from  a  pipe  into  a  trough  and  thence 
into  an  open  pool.  Caduceus  above,  left  of  the  head  of 
S.  Anne. 

Fair  impression,  restored  in  upper  left  corner. 

93  St.  Catherine 

B.  8,  Kr.  10,  Hind  10 

The  Saint,  wearing  a  crown  and  long,  clinging  robe,  stands 
full  face  with  her  head  inclined  to  the  right.  In  her  right 
hand  she  holds  a  sword,  with  its  point  resting  on  the  ground, 
and  a  palm  in  her  left.  On  the  ground,  left,  is  a  portion  of 
a  wheel.  Caduceus  in  lower  right  corner. 

Strong  early  impression,  of  the  greatest  beauty. 


33 


94  Apollo  and  Diana 


B.  16,  Kr.  14,  Hind  14 

Apollo,  his  body  facing  front  and  his  head  turned  almost 
in  profile,  right,  stands  naked  amid  a  glory  of  rays  upon 
a  segment  of  a  starry  sphere,  in  the  act  of  shooting  an  arrow 
from  his  bow.  His  quiver  hangs  behind  his  back.  Diana, 
seen  from  behind,  is  descending  toward  the  right;  the  legs 
are  invisible  and  the  lower  part  of  her  body  appears  indis¬ 
tinctly  through  the  translucent  substance  of  the  sphere  on 
which  Apollo  stands.  A  radiating  star  rests  on  her  head. 

She  is  accompanied  by  a  stag.  Caduceus  in  the  upper  left 
corner. 

This  engraving  is  remarkable  for  its  relations  with  Duerer’s 
engraving  of  the  same  subject.  While  in  line  and  composi¬ 
tion  these  two  prints  show  little  resemblance,  the  interesting 
fact  is,  that  there  exists  a  drawing  from  the  hand  of  Duerer, 
in  the  British  Museum,  forming  apparently  a  study  for  his 
engraving  in  which  Diana  is  also  seen  from  the  back,  as  in 
Barbari’s  plate. 

Brilliant  and  strong  impression  of  the  greatest  beauty, 
showing  the  plate  line.  From  the  Dirmin-Didot  Col¬ 
lection. 

See  reproduction  facing  page  5. 


Girolamo  Mocetto,  Venice,  1 459-1 531,  about. 

95  The  Calumny  of  Apelles 

Bartsch  XIII,  113,  10  (Anon.) 

Pass.  V.  137,  11;  Hind,  464,  9 

In  an  open  piazza  (San  Giovanni  e  Paolo,  Venice,  where 
one  sees  the  statue  of  Colleoni  by  Verrocchio)  the  judge 
with  the  ears  of  an  ass  sits  on  a  throne,  left.  His  coun¬ 
sellors,  Suspicion  and  Ignorance,  stand  at  his  sides.  Envy, 
in  the  shape  of  a  hag  with  pointed  ears,  presents  to  him 
Calumny,  a  young  woman  wearing  a  crown,  who  holds  a 
torch  in  her  right  hand,  while  with  her  left  she  drags  her 
victim,  Innocence,  by  the  hair.  Calumny  is  followed  by 
her  handmaidens,  Fraud  and  Treachery,  who  are  tying  her 
hair.  Repentance,  with  folded  hands  and  sad  countenance, 
turns  back  toward  Truth,  a  young  woman  with  a  wreath 


34 


•  xm-  MOCETTO.  THE  CALUMNY  OF  APELLES  Cat.  95 


upon  her  head,  who  points  upward  with  her  right  hand. 
Engraved  after  a  drawing  by  Mantegna,  which  is  in  the 
British  Museum. 

Magnificent  impression  of  the  first  state  (of  four  de¬ 
scribed  by  Hind)  before  the  scratches  on  the  plate. 
In  perfect  condition  aside  from  a  few  repairs  of  tears 
and  the  crease  running  through  the  center  of  the  print. 
From  the  Holford  Collection. 

See  reproduction, 

Benedetto  Montagna, 

worked  in  Vicenza  between  1500  and  1540. 


96  Man  with  an  Arrow 


B.  33,  Hind  21 


A  young,  curly-headed  man,  naked  but  for  a  scarf  passing 
over  his  right  fore-arm  and  behind  his  legs,  his  head  bent 
slightly  right,  stands  holding  an  arrow  in  his  right  hand 
and  gathering  up  the  folds  of  his  scarf  with  his  left.  To 
the  right  is  a  trunk  of  a  tree,  with  a  bow  hanging  from  one 
of  its  branches.  Signed  on  a  tablet  hanging  above  to  the 
left. 


Brilliant  impression  of  the  second  state  (a  hill  has 
been  added  on  the  background  low  down  to  the  left). 
From  the  Collections  of  Sir  Joshua  Reynolds  and 
John  Tetlow. 


Giulio  Campagnola, 

born  Padua,  about  1482,  worked  in  Ferrara  and  Venice, 
until  about  1514. 

97  St.  John  the  Baptist 

B.  3,  Kr.  3,  Hind  2 

S.  John  stands  in  full  face,  with  parted  lips  and  look 
directed  upward  toward  the  left.  He  holds  the  baptismal 
bowl  in  his  left  hand,  and  with  his  right  gathers  up  his 
garment  so  as  to  bare  his  right  leg  from  the  knee.  The 


35 


background  is  an  undulating  landscape  with  trees  and  rustic 
buildings.  Two  shepherds  sit  near  their  flock  on  a  bank, 
left.  Signed  IVLIVS  CAMPAGNOLA,  F.  in  upper  left 
corner. 

In  the  lower  right  corner  the  engraving  shows  the  inscrip¬ 
tion:  Appreso  Nicolo  Nelli  in  Venetia.  Many  impressions 
of  this  engraving  are  cut  above  this  address,  but  none  are 
known  to  exist  without  it,  showing  the  full  paper. 
Superb  impression  in  perfect  condition,  showing  the 
address. 

See  reproduction  facing  page  3. 


98  Ganymede 

B.  5,  Kr.  6,  Hind  3 

The  eagle  mounts  through  the  air  toward  the  left.  On  his 
back  and  grasping  him  by  the  neck  sits  Ganymede,  wear¬ 
ing  a  tunic  with  a  loose,  flying  scarf  and  leggings  decorated 
below  the  knee  with  masks.  The  landscape  below  repre¬ 
sents  a  river  with  a  cottage  between  two  willows,  right. 

The  latter  has  been  copied  from  the  landscape  of  Duerer’s 
famous  print:  The  Virgin  with  the  Monkey,  B.  42.  The 
signature:  IVLIVS  CAMPAGNOLA,  is  near  the  upper 
right  corner.  In  the  second  state  the  word  ANTENOREUS 
has  been  added  to  the  signature. 

Hind  and  Kristeller  mention  only  two  impressions  of  the 
first  state  (Munich  and  Vienna),  while  the  London,  Paris 
and  Berlin  specimens  are  all  of  the  second  state. 

Beautiful,  strong  impression  of  the  First  state,  on 
brownish  paper. 

From  the  Reiss  Collection  and  showing  the  signa¬ 
ture  :  P.  Mariette,  1670. 

See  reproduction 


99  The  Astrologer 

B.  8,  Copy  C.,  Kr.  11,  Hind  6 


36 


B.  5 


GIULIO  CAMPAGNOLA.  GANYMEDE 


Cat.  98 


GIULIO  AND  DOMENICO  CAMPAGNOLA,  MUSICAL  SHEPHERDS 


In  the  foreground,  left,  a  bald  and  bearded  old  man,  wear¬ 
ing  a  long  robe  and  a  cape,  sits  on  the  ground  in  front  of 
a  clump  of  trees,  growing  from  a  knoll.  With  a  pair  of 
compasses  he  measures  a  globe  inscribed  with  the  emblems 
of  the  sun  and  moon,  the  balance,  various  figures  and  the 
date,  1509.  To  the  right  a  bloated,  sprawling  dragon  ap¬ 
proaches  a  skull  and  bones  lying  on  the  ground.  In  the 
background  a  town  beside  a  lagoon. 

Hind  and  Kristeller  mention  three  states  of  this  print. 
The  first,  of  which  only  one  impression  (Berlin)  is  known, 
is  in  pure  engraving,  before  the  dotted  work.  While  the 
second  shows  that  work  so  peculiar  to  Giulio  Campagnola, 
who  was  the  first  to  apply  it.  The  third  state  shows  the 
inscription:  Ludovicus  Longus  Matheseos,  professor,  and 
the  number  193,  while  the  date  reads  1569  instead  of  1509. 
Impression  of  the  greatest  beauty  of  the  second  state. 


Giulio  and  Domenico  Campagnola 

ioo  Shepherds  in  a  landscape 

B.  9  (Domenico  C.),  Kr.  9,  Hind  11 

Three  shepherds  and  a  shepherdess  sit  on  a  grassy  bank 
at  the  edge  of  a  wood,  left;  the  shepherd  at  the  right  of 
the  group  holds  a  stringed  instrument  in  his  right  hand 
and  a  bow  in  his  left,  and  looks  down  toward  a  brook, 
right;  the  second  has  a  hand  organ  in  his  left  and  looks 
back  toward  the  shepherdess,  who  sits  in  the  shadow  play¬ 
ing  a  pipe;  near  her,  also  in  the  shadow,  appear  the  head 
and  shoulders  of  the  third  shepherd.  Some  sheep  appear 
from  behind  the  group.  Right  of  the  brook  is  a  village 
on  a  knoll,  with  gabled  houses,  a  thatched  tower  and  a 
ruined  ampitheatre.  In  the  valley,  farther  off,  is  another 
cluster  of  buildings  at  the  foot  of  a  mountain. 

Only  the  right  side  of  the  engraving  has  been  executed  by 
Giulio,  while  the  entire  left  has  been  added  by  Domenico 
Campagnola,  probably  after  Giulios  death.  There  is  a 
copy  known  of  the  unfinished  plate,  but  no  impressions 
from  the  latter  are  known  to  exist.  The  lower  angles  of 
the  plate  have  been  cut  across. 

Superb  impression  in  perfect  condition. 

See  reproduction. 


37 


Domenico  Campagnola,  pupil  of  Giulio,  working  at 
Padua  between  1 5 1 1  and  1563 


101  The  Descent  of  the  Holy  Spirit 


B.  3,  Hind  4 


The  Holy  Spirit  in  form  of  a  dove  descends  in  a  glory  of 
rays  and  tongues  of  fire  on  the  apostles,  who  are  gathered 
in  a  group  about  S.  John.  In  the  background  is  a  wall  with 
an  arched  doorway  in  the  center.  Signed:  DO.  CAP.  and 
dated  1518,  near  the  foot  of  a  reading  desk  at  which  sit 
two  of  the  apostles,  left.  Plate  nearly  round. 

Good  early  impression,  slightly  stained  and  repaired. 


102  The  Virgin  and  Child  with  Saints 

B.  5,  Hind  6 

In  the  front  of  a  tree  in  the  center  sits  the  Virgin,  holding 
the  Child  on  her  knee  and  looking  down  at  S.  Catherine, 
who  kneels,  right,  holding  a  palm  branch  in  her  left. 

S.  John  the  Baptist  and  S.  Jerome  stand  behind  her;  on  the 
other  side  stands  a  female  saint,  holding  a  banner,  with 
the  face  of  another  appearing  over  her  shoulder.  Signed 
and  dated:  DOMINICVS  CAPAGNOLA,  1517,  on  a  white 
space  in  the  lower  right  corner. 

Brilliant  impression,  from  the  Collections  Sykes,  Es- 
daile  and  Reiss. 

See  reproduction. 


103  The  Beheading  of  St.  Catherine 


38 


B.  6,  Hind  7 


B.  5  DOMENICO  CAMPAGNOLA.  THE  VIRGIN  AND  Cat.  102 
CHILD  WITH  SAINTS 


Circular  Composition  of  eighteen  figures. 

In  a  columned  hall  the  Emperor  Maxentius  sits  on  a  raised 
throne,  right,  surrounded  by  courtiers  and  guards.  He  leans 
forward  addressing  S.  Catherine,  who  kneels  before  the 
throne  with  her  hands  joined  in  prayer.  Behind  her,  left, 
stands  the  executioner  with  sword  uplifted  and  ready  to 
strike.  A  dog  lies  asleep  at  the  foot  of  the  throne.  Signed 
with  full  name  on  a  column,  left,  and  dated  MDXVII  in  the 
lower  center. 

Beautiful,  strong  impression,  showing  the  plate  line. 


104  Battle  of  naked  men 


B.  xo,  Hind  8 


In  front  of  a  wood  goes  on  a  furious  medley  of  horse  and 
foot.  In  the  center  a  horseman,  advancing  from  the  right, 
leans  forward  brandishing  a  short  Roman  sword.  Near  the 
front,  right,  another  horseman  covers  himself  with  his 
shield  against  the  attack  of  a  man  who  assails  him  with  a 
spear.  Toward  the  left  a  foot  soldier  grasps  round  the  body, 
under  the  shoulders,  a  rider  whose  horse  has  fallen  under 
him.  Signed  and  dated  1517  on  a  compartment  between  the 
legs  of  a  barking  dog. 

Fine  early  impression  with  margin. 


105  The  Same 

Strong,  but  later  impression,  from  the  collections  von  Nag- 
ler  and  Berlin  Museum. 

In  perfect  condition. 

Master  I.  B.  with  the  Bird  (called  “Giovanni  Battista 
del  Porto,”  by  Zani) 

106  Leda  and  her  Children 


89 


B.  XIII,  246,  3 ;  Hind  3 


In  the  foreground  sits  Leda  with  her  four  children  about 
her.  One  stands  at  her  breast;  the  three  others  play  with 
the  swan;  one  resting  on  the  back  and  right  wing  of  the 
swan,  supporting  himself  by  his  mother’s  left  arm,  holds  out 
a  butterfly  in  his  right  hand;  the  two  others  sprawl  beneath 
the  wings  of  the  swan.  In  the  background  are  the  ruins 
of  a  round,  domed  building  rising  above  low  trees,  and  in 
the  distance  the  sea.  Signed  with  the  monogram  on  a 
tablet  resting  against  a  stone  in  the  lower  left  corner. 
Brilliant  impression  from  the  A.  Firmin  Didot  Col¬ 
lection. 

See  reproduction. 


Jacopo  Francia,  son  of  Francesco  Francia, 
born  Bologna,  1847,  died  there  1557 

107  Venus  and  Cupid 

B.  XV.  459,  6;  Hind  6 

On  a  little  island  fringed  with  reeds  and  flowers  stands 
Venus  in  full  face,  naked  but  for  a  drapery  passing  in  an 
arch  over  her  head  from  her  right  to  her  left  fore-arm  and 
falling  to  the  ground  behind  her  left  leg.  Her  head  is 
turned  three-quarters  right;  her  hair  streams  across  her 
left  shoulder;  she  holds  an  apple  in  her  right  and  a  mason’s 
square  in  her  left.  Cupid  runs  to  her  from  the  left  with 
uplifted  hands.  In  the  background,  right,  a  seated  nymph 
is  caressed  by  an  old  man  holding  a  book.  Behind  them 
grow  high  reeds.  The  sky  is  shaded  in  horizontal  parallels 
broken  by  white  clouds  and  a  crescent  moon  in  the  upper 
right  corner. 

Engraving  very  much  in  the  style  of  Marc  Antonio’s 
work  of  his  Roman  period. 

Strong,  early  impression,  in  good  condition. 


Cat.  106 


MASTER  I.  B.  With  the  bird.  LEDA  AND 
HER  CHILDREN 


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